…Compositing applications such as nuke, afford us the possibility of pushing…our art around at a much easier render time than in maya.…Here's how this plays out.…For example in maya, if we render depth of field,…it's baked in that image, and while it may look wonderful.…It's also an increase in our render time, and it's very hard to tweak afterwards.…It is rendered in.…If we bring in a beauty pass, and a depth…pass here at nuke, adding on depth of field is easy.…And, we have an inner activity possible that's simply not available in Maya.…

That coupled with a smaller render time,…allows us a great deal of artistic flexibility.…So, as long as we have that flexibility built in our pipeline, we can work…fluidly in a compositing application like nuke and…really fine tune the look of our imagery.…I'll start out here in Nuke by reading or importing in…my images, clicking in the node graph and pressing r to read.…I browsed into the images folder in the chapter six nuke folder, in the…compositing folder in the exercise files, and now I'm going to read in my images.…

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Released

4/8/2014

Light has more qualities than you think: temperature, brightness, and diffusion, just to name three. When it comes to replicating it in the digital world, you need strong materials and lighting tools, and Maya offers both. Learn how to replicate three unique lighting setups in interior scenes, starting with direct daylight. After you produce the daylight renderings, Adam Crespi shows how to light the scene with interior lights suitable for night or dusk shots, and then use sky portals to create soft indirect light that blooms through the windows. He follows up with rendering specular, mask, and ambient occlusion passes, and then shows how to composite the renderings in both Adobe After Effects and The Foundry Nuke.